Bärenreiter The Programme New Publications Sheet Music 1/2010

The Programme 

New Publications 

Sheet Music 

1/2010 

Bärenreiter

The programme at a glance 

Choral Music 

Gioachino Rossini, Petite Messe solennelle 

BA 050 , BA 050 a ...................................................3 

Stage Work 

Gioachino Rossini, Il barbiere di Siviglia 

BA 0506b, BA 0506a, TP 4 .................................4–5 

Piano 

Johannes Brahms, Piano Pieces op. 6– 9 

Fantasies op. 6. BA 96 8 ...........................................6 

Three Intermezzi op. 7. BA 96 9 ................................6 

Piano Pieces op. 8. BA 9630 ......................................7 

Piano Pieces op. 9. BA 963 .......................................7 

Ludwig van Beethoven, Concerto for Piano and Orchestra 

after op. 6 . BA 90 3, BA 90 3a ...................................8 

Classic goes Jazz. BA 8760 ................................................9 

Contemporary Music 

New Publications up to November 009 .......................... 0 

Complete Editions 

New Publications up to November 009 .......................... 

Bach · Mozart · Schubert, Special Set Offers ............... – 3 

Gabriel Fauré, Œuvres complètes ............................... 4– 5 

Strings 

The new series “Bärenreiter‘s Easy Concertos“ 

Oskar Rieding, Concerto in B minor op. 35 

BA 897 ..................................................................... 4 

Friedrich Seitz, Student Concerto No. in G major 

op. 3. BA 897 .......................................................... 5 

Antonio Vivaldi, Concerto in A minor op. 3/6 

BA 8974 ..................................................................... 5 

The Sassmannshaus Tradition, Early Start on the Viola 

BA 9686–9689 ..................................................... 6– 7 

Camille Saint-Saëns, Allegro appassionato in B minor 

op. 43. BA 9047 ......................................................... 8 

Chamber Music 

Leoš Janáèek, String Quartet No. “Intimate Letters“ 

BA 9533, TP 533 ......................................................... 9 

Claude Debussy, Quatuor à cordes 

BA 94 4, TP 4 4 ......................................................... 0 

César Franck, Quatuor à cordes 

BA 94 , TP 4 ......................................................... 

Woodwinds 

Alexander Glazunov, Concerto for Alto Saxophone and 

String Orchestra. BA 873 , BA 873 a .......................... 

Leoš Janáèek, Youth. Wind Sextet 

BA 95 8, TP 5 8 ......................................................... 3 

Series »ComboCom« 

Balkan. BA 6700 ............................................................. 6 

Organ 

Johann Sebastian Bach, Organ Works in Volumes 

BA 5 79 ..................................................................... 7 

Girolamo Frescobaldi, Organ and Keyboard Works I. 

BA 84 ..................................................................... 8 

Jan Pieterszoon Sweelinck, Complete Organ and 

Keyboard Works, Volume II. : Polyphonic Works, Part 

BA 8476 ..................................................................... 9 

Louis Vierne, Complete Organ Works 

Volume IX: BA 9 37 ....................................................30 

Solo Voice and Organ 

Marian Hymns from the 8 th to the 0 th Centuries, 

Volume II: BA 9 68 .....................................................3 

Solo Voice 

Jean-Philippe Rameau, Musique vocale profane 

Volume : BA 8946 / Volume : BA 8948 .............. 3 –33 

Popular Choral Music 

Cat Stevens, Wild World 

BE 7 7 .......................................................................34 

Alex Haas / Willie Jakob, Do ge da ja 

BE 7 9 .......................................................................34 

Mozart‘s Great Operas 

Facsimiles ...............................................................35 

Your Contacts ..........................................................36 

Complete Edition Photo: Paavo Blåfield

Choral Music 

rossini 

B ä r e n r e i t e r U r t e x t 

Petite Messe solennelle 

Klavierauszug 

Vocal score 

Bärenreiter 

Gioachino Rossini 


n The Petite Messe solennelle is the finest work of Rossini’s 

late years. He composed it between 863 and 864 at the age 

of 7 as a commission for Countess Louise Pillet-Will for the 

consecration of her private chapel, where the work received 

its first performance in March 864. Together with the Stabat 

mater, the mass is one of the composer’s most important 

sacred works. 

The unusual instrumentation with two pianos and harmonium 

is entirely in keeping with the Neapolitan keyboard tradition 

of the 8 th century which was cultivated in France in Rossini’s 

day. It forms a distinct contrast to the style of large-scale sacred 

compositions as written by, for example, Liszt and Bruckner. 

Rossini explained that he wrote the later orchestral version of 

the work dating from 867 out of concern that if he did not do 

this, other composers might orchestrate the mass too heavily in 

later arrangements. 

The piano reduction by Andreas Köhs is extremely idiomatic and 

largely preserves the charming character of the unusual 

instrumentation. 



Bärenreiter Urtext 

Edited by Patricia B. Brauner and Philip Gossett 

BA 050 

Score approx. € 4 .95 

Harmonium approx. € 3.95 

Pianos I and II approx. € 3.95 

*New Issue 

Title 

SCORE File: B50-004A.MUS Project: A&O 5k 07.10.09 File Date: 07-01-*9 Time: 17:46 Print data: 1.14 2.1 2.4 300 3 

4 

Chœur 

Har. 

Chœur 

Har. 

Les 4 voix Solo avec le Chœur 

9 Soprani 

12 

Contralti 

Tenori 

sottovoce 

8 Ky 

Bassi 

ri e, Ky ri e, Ky ri 

sottovoce 

Ky 

P.1 cresc. 

e e le i son, e 

smorz. 

le i son, e 

e e le i son, e 

smorz. 

le i son, e 

8 e e le i son, e 

smorz. 

le i son, e 

e e le i son, 

P.1 smorz. 

l Based on the Urtext of the series Works of 


l Foreword in three languages (Eng/Ital/Ger) 

l With a separate harmonium part and one part 

for pianos I and II 

Piano reduction by Andreas Köhs 

BA 050 a* Vocal score approx. € 4.95 

To appear in May 0 0 

sottovoce 

Ky 

ri e, Ky ri e, Ky ri 

BA 050 

smorz. 

cresc. 

e le i son, e le 

BA 10501 

ri e, Ky ri 

smorzan. 

Ky 

a poco a poco 

sottovoce 

ri 

BA 050 a 

3

4 

Stage Work 

rossini 


il barbiere di siviglia 

Der Barbier von seville 

Klavierauszug 

riduzione per Pianoforte 



Il barbiere di Siviglia / 

The Barber of Seville 

n Rossini’s The Barber of Seville is without doubt the 

composer’s best-known work and one of the most frequently 

performed operas in the entire repertoire. This vocal score 

corresponds with the recently published and highly acclaimed 

Urtext critical edition (BA 0506) in the series Works of Gioachino 

Rossini and is available in two versions: Italian-English and Italian- 

German. The two versions of the vocal score offer revised and 

modernised singing translations in English and German 

respectively. 




Commedia in due atti 


Libretto by Cesare Sterbini after 

Pierre-Augustin Caron de Beaumarchais 

Piano reduction by Rasmus Baumann 

rossini 



the Barber of seville 

Vocal score 

riduzione per Pianoforte 



Title 

SCORE File: E15-042.MUS Project: A&O 1k 21.08.09 File Date: 08-19-*9 Time: 17:15 Print data: 1.00 -1.4 2.0 300 3 

42 

18 

23 

F. 

FIGARO con chitarra appesa al collo, e detto 

Allegro vivace 

Tutti 

6 +Cl. 

12 Archi +Cl. 

FIGARO 

Scena II 

+Fl. 

di dentro 

(from behind 

the scene) 

La ran la le ra, 

La ran la le ra, 

la ran la là, la ran la 

La ran la 

+Fl. 

là, la ran la 

+Ott. 

BA 10506b 10506a 

All the appendices in the full score are included in the vocal 

score. These offer variants on individual arias, additional 

numbers composed for particular performances and the 

transposed versions of numbers 5, 6 and . 

l Urtext edition based on the series 

Works of Gioachino Rossini 

l All versions and transpositions included in the 

appendix 

l Especially user-friendly due to two separate versions 

(Ital/Eng and Ital/Ger) 

l Singing English and German translations 

English translation by Amanda Holden 

BA 0506b (Ital/Eng) Vocal score* 

approx. € 39.95 

To appear in April 0 0 

Tutti 

N. 2 

Cavatina Figaro 

German translation by Richard Bletschacher 

BA 0506a (Ital/Ger) Vocal score 

approx. € 39.95 


+Vc. 

cresc. 

+Ott. 

Fiati 

Archi 

Scene 2 

FIGARO, with a guitar slung round his neck; 

the COUNT (hidden) 

Archi 

+Cb. 

25 

Cl., Fg. 

Cor., Trb., Vle

Study Score 

B ä r e n r e i t e r 

classics 

rossini 






n This study score is based on the critical edition of The Barber 

of Seville edited by Patricia B. Brauner and published in 008 as 

part of the series Works of Gioachino Rossini. But who needs a 

new critical edition of The Barber of Seville? The opera has been 

performed in theatres throughout the world since 8 6 and has 

never been absent from the repertoire. There are two reasons 

for a critical new edition: firstly, none of the early editions 

satisfy modern demands for a scholarly-critical edition. And 

secondly, there is a wealth of previously unpublished material 

relating to this opera, of great interest to both scholars and 

performers. 

Thus the famous overture, which Rossini had already used in his 

earlier opera Aureliano in Palmira, differs noticeably from earlier 

editions in many places. The new edition enables performers to 

perform the overture either in its original scoring (as in 

Aureliano in Palmira), which includes two flutes, two oboes and 

timpani, or in the scoring for the subsequent opera The Barber 

of Seville (with just one flute, one oboe and no timpani). 




Commedia in due atti 


Edited by Patricia B. Brauner 

New Issue 

Title 

142 

1 Flauto 

1 Oboe 

2 Clarinetti 

in La 

2 Fagotti 

2 Corni 

in Mi 

2 Trombe 

in La 

Violini 

Viole 

Violoncelli 

Contrabbassi 

6 

Cl. 

in La 

Cor. 

in Mi 

I 

Vni 

II 

Vle 

I 

II 

(Camera nella casa di Don Bartolo, con quattro porte. 

Di prospetto la fenestra con gelosia, come nella Scena 

prima. A destra uno scrittoio) 

(SCENA V) 

(Rosina con lettera in mano) 

Andante 

a 2 

Andante 

Vc. e 

Cb. 

* Rossini wrote variations for this Cavatina, given in Appendix I. / Rossini ha composto variazioni per questa Cavatina, riportate nell’Appendice I. 

A series of appendices contain music and information which 

have been included in no other edition of the opera to date. 

l Takes into account all original sources, also including 

five manuscripts with Rossini’s autograph 

ornamentation 

l Takes into consideration the full extent of Rossini’s 

personal notational characteristics 

l With a detailed foreword (Eng/Ital) 

The performance material to the complete opera will be 

available on hire. 

Study score 

TP 4 approx. € 39.95 

To appear in March 0 0 

N. 5 

* 

[Cavatina Rosina] 

a 2 

a 2 

sottovoce 

sottovoce 

dolce 

5

6 

Piano 

BrAhMs 


Fantasien 

für Klavier 

Fantasies 

for Piano 

op. 116 


Johannes Brahms 

Fantasies op. 116 


Three Intermezzi op. 117 

n The piano pieces opp. 6- 9 were written in 89 /93 and 

are the last collections of pieces which Brahms wrote for the 

instrument. Particularly noteworthy is his use of the “small 

form” accompanied by a heightened increase in musical 

expression compared to his earlier works. 


Fantasies op. 116 


Edited and with fingering 

by Christian Köhn 

BA 96 8 approx. E 8.00 


BrAhMs 


Drei intermezzi 

für Klavier 

three intermezzi 

for Piano 

op. 117 



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Clara Schumann, probably the secret dedicatee of the piano 

pieces, wrote in her diary in November 89 : “a true source 

of enjoyment, everything, poetry, passion, fantasy, intimacy, 

full of the most marvellous sound effects […] In these pieces 

I finally feel musical life drawn into my soul again and play once 

more with true devotion.” 

A renewed critical evaluation of all known sources has resulted 

in small deviations from previous readings. 

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Three Intermezzi op. 117 




BA 96 9 approx. E 6.50 


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Title

Piano 

BrAhMs 


Klavierstücke 

Piano Pieces 

op. 118 



Piano Pieces op. 118 








BA 9630 approx. E 7.50 



Title 

The editor 

BrAhMs 


Klavierstücke 

Piano Pieces 

op. 119 


Christian Köhn teaches piano at the Musikhochschule in 

Detmold. One of his specialisms is the piano music of Johannes 

Brahms, as shown in his highly acclaimed complete recording 

of Brahms’s four-hand piano repertoire on CD with his duo 

partner Silke-Thora Matthies. For Bärenreiter he has already 

edited Brahms’s Serenades op. and 6 for piano duet 

(BA 6570/BA 657 ). 

l Johannes Brahms’s most frequently performed piano 

pieces, now available in high quality Bärenreiter 

Urtext editions 

l Evaluation of all available sources 

l Reflecting the latest state of research 






BA 963 approx. E 6.50 



Title 

7

8 

Piano 

Be e t hoV e n 


Konzert für Klavier und orchester 

Concerto for Piano and orchestra 

nach / after op. 61 

Klavierauszug 

Piano reduction 


Ludwig van Beethoven 

Concerto for Piano and Orchestra after op. 61 

n After attending the premiere of Beethoven’s stately concerto 

for violin and orchestra Muzio Clementi approached the 

composer and requested the work in a transcription for piano 

and orchestra; his wish was fulfilled in 807 providing us with 

not just an alternative version of the composition but also one 

with authentic cadenzas which Beethoven had not written 

for the Violin Concerto! This version has waited a long time 

to be properly edited after the existing sources and the famed 

Beethoven scholar Jonathan Del Mar has done just that! 

Working with all known sources, Del Mar finally presents us 

with Beethoven’s solo piano articulation and dynamics and 

Beethoven’s cadenzas. And, for the first time we now have 

clarity regarding the meaning of Beethoven’s Solo and Tutti 

markings. 

All in all, a groundbreaking scholarly critical edition; a “must“ 

for every pianist, every orchestra and every music library. 

Ludwig van Beethoven 

Concerto for Piano and Orchestra after op. 61 


Edited by Jonathan Del Mar 

BA 90 3 Score* approx. E 37.95 

BA 90 9 

Wind set approx. E 39.95 

Strings each approx. E 4.50 



Title 

BA 90 3, Score 

Flauto 

Oboe I, II 

Clarinetto I, II 

in La/A 

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in Re/D 

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Clarino I, II 

in Re/D 

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BA 9013 © 2009 by Bärenreiter-Verlag, Kassel 

The piano reduction will be presented in a new format: As 

customary in the 9 th century there will be a solo piano part 

containing tutti passages, cues and the piano solo. This part will 

be inserted – as with string and wind concertos – in the piano 

reduction. This affords the soloist sensible page turns and offers 

the possibility to lead the ensemble from the piano. The piano 

reduction will include the reduction of the orchestral score as 

well as the solo piano part above it in small print. 

l High quality Bärenreiter Urtext edition 

l Urtext solo piano part and an additional piano part 

with fingering 

l New kind of presentation of the piano reduction 

incorporating solo piano parts as customary in the 

19 th century 

Piano reduction with an Urtext solo piano part and 

an additional piano part with fingering 

BA 90 3a* approx. E 9.95 


CONCERTO 

pour le Pianoforte 

avec accompagnement de grand Orchestre 

arrangé d’après son 1 er Concerto de Violon 

at Dédié 

à Madame de Breuning 

née noble de Wering 

par 

Louis van Beethoven 

Opus 61 

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The critical commentaries to the Violin 

Concerto op. 6 as well as to the Piano 

Concerto version are included in 

BA 90 9/40. 

BA 90 3a, Piano reduction 

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Piano 

Jean Kleeb 

Classic goes Jazz 

n Classical themes in the broadest sense are the basis for Jean 

Kleeb’s varied, jazz-orientated piano arrangements. Jean Kleeb is 

adept at taking the best-known baroque, classical and romantic 

themes and placing them in a new light so that “classical” as 

well as jazz pianists will derive a great deal of enjoyment from 

this selection. 

l Classical melodies in a jazz interpretation 

l Pieces of medium technical difficulty 

l Fun and variety guaranteed 

Jean Kleeb 

Classic goes Jazz 

BA 8760 approx. E 0.95 


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BA 8760 © 2010 by Bärenreiter-Verlag, Kassel 

Already published: 

Mozart goes Jazz for Piano 

Arranged by Jean Kleeb 

BA 876 E 0.00 


Title 

Jazz Minuet 1 

p 

Jean Kleeb 

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0 

Contemporary Music 

New publications up to November 009 

Beat Furrer 

Xenos II für Ensemble und Sprechstimme 

BA 976 Performance material available on hire 

Beat Furrer 

APON für Orchester und Sprechstimme 


Beat Furrer 

drei klavierstücke 

BA 93 6 Available on sale 

Vadim Karassikov 

above the shadow of the candle 

For flute, clarinet, violin, violoncello and piano 

BA 8 86 Available on sale 

Philipp Maintz 

tourbillon 

Music for violin, violoncello and piano 

BA 7796 Available on sale 

Matthias Pintscher 

celestial object II 

for solo horn and ensemble 

Part two from »sonic eclipse« 


Matthias Pintscher 

Study III for Treatise on the Veil 

For solo violin 


Thomas Daniel Schlee 

Enchantement vespéral für Ensemble op. 71 


Thomas Daniel Schlee 

Spes unica 

für großes Orchester op. 72 


Ulrich Stranz 

Portrait für Viola 

(and arrangement by the composer for violin solo) 

Guter Dinge sein 

For flute and viola 


Manfred Trojahn 

Sentimento del tempo 

Music for violin solo, flutes and strings 


Manfred Trojahn 

Douze Préludes pour Piano 

Cahier : Nos. -6 

BA 93 9 Available on sale

Complete Editions 

New publications up to November 009 

Das deutsche Kirchenlied 

Series II, vol. 3 

Hymns I-M (Nos. 331-536) 

Edited by Max Lütolf 

BA 8360 

George Frideric Handel 

Halle Handel Edition, 

Series II, vol. 12 (Parts 1 and 2): 

Ottone 

Edited by Fiona McLauchlan 

BA 4077 

George Frideric Handel 

Halle Handel Edition, 

Series II, vol. 33: Alcina 

Edited by Siegfried Flesch 

BA 406 

L’Opéra français 

Adolphe Adam 

“Le Toréador ou l’Accord parfait“ 

Opéra bouffon en deux actes 

Edited by Paul Prévost 

BA 870 

Franz Schubert 

New Edition of the Complete Works, 

Series V, vol. 7: Concert pieces 

Edited by Michael Kube 

BA 5560 

Georg Philipp Telemann 

Musical Works, vol. 46 

Der misslungene Brautwechsel oder Richardus I., 

König von England, TVWV 22:8 

Edited by Steffen Voss 

BA 5866 

New Complete Editions by Bärenreiter 

Johann Pachelbel · the Complete Vocal Works 

Felix Mendelssohn Bartholdy · Complete Letters 

Works of Gioachino rossini 

Gabriel Fauré · Œuvres complètes 

L'opéra français

A unique offer for orchestras, condu 

Over the decades Bärenreiter Complete Editions have achieved a 

unique reputation amongst musicians and scholars. The list of 

composers whose complete works have been published in editions 

of outstanding editorial quality is impressive. It ranges from Bach, 

Handel, Mozart, Schubert through to Berlioz, Berwald and Janáček. 

For the first time Bärenreiter is now offering selected 

groups of works from the world literature of music at 

particularly attractive prices.

ctors, choral directors and students! 

Bärenreiter Complete Edition volumes at attractive set prices 

Johann Sebastian Bach 

Orchestral Works 

Vol. 1: Four Orchestral Suites 

Vol. 2: Brandenburg Concertos 

Vol. 3: Concertos for Violin, two Violins, 

Harpsichord, Flute and Violins 

Vol. 4: Concertos for Harpsichord 

Vol. 5: Concertos for two Harpsichords 

Vol. 6: Concertos for three and four 

Harpsichords 

Vol. 7: Missing Solo Concertos and 

Reconstructions 

Price if purchased separately: � 846.00 

Special Set Price: BA 5300 � 448.00 

Wolfgang Amadeus Mozart 

Masses and Requiem 

Vols. 1-5: Masses 

Vol. 6: Individual Movements and 

Fragmentary Works 

Vol. 7: Requiem (Fragment) 

Vol. 8: Requiem (Fragment with the 

completions by Eybler and Süßmayr) 

Price if purchased separately: � 1,111.00 



Symphonies 

Vols. 1-10: Symphonies 

Price if purchased separately: � 1,047.00 



Serenades and Divertimenti 

Vols. 1-6: Cassations, Serenades and 

Divertimenti for Orchestra 

Vols. 7-8: Divertimenti and Serenades 

for Winds 



Franz Schubert 

Symphonies 

Vols. 1-4: Symphonies 



To appear in March 2010 

3

4 

Strings 

Bärenreiter’s Easy Concertos is a new series of 

the most popular short concertos for violinists 

who want to begin performing in public. 

The series begins with works by the composers 

Rieding, Seitz and Vivaldi which are clear favourites 

amongst the first solo concertos played. 

The editions include a solo violin part and a piano 

reduction for the accompanist. 

The series is edited by 

Kurt Sassmannshaus, 

the internationally- 

renowned violin teacher 

and co-author of the 

Sassmannshaus violin 

school tradition. His 

forewords introduce 

these little gems and 

include tips to ensure 

successful first concerts. 

These volumes form an ideal continuation of the 

Sassmannshaus school editions and can be used 

in parallel from volume three onwards: They can 

also be used to supplement any violin method. 

This series will be continued and will introduce 

students to more demanding repertoire with an 

increasing level of difficulty. 

Oskar Rieding 

Concerto in B minor op. 35 

Bärenreiter's Easy Concertos 

Violin part and enclosed piano reduction 


To appear in February 0 0 

Solo Violin 

� 

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19 

24 

Oskar Rieding, Op. 35 

Allegro moderato 

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Title 

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Concerto in H h-Moll moll 

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© 2009 by Bärenreiter-Verlag, BA Kassel 

8971 

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(1840–1918) 

Concerto 

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op. 35 

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© 2010 by Bärenreiter-Verlag, Kassel 

BA 8974 

Friedrich Seitz 

(1848–1918) 

Concerto No. 2 

in G major 

op. 13 

Friedrich Seitz 

Student Concerto No. 2 in G major op. 13 





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Allegro appassionato in h-Moll / in B minor 

für Violoncello und Klavier 

op. 43 


Camille Saint-Saëns 

Allegro appassionato in B minor op. 43 

for Violoncello and Piano 

n Since its premiere in 873 this work has held an important 

place in the violoncello repertoire. It is on the one hand a short 

charming composition; on the other hand, equally important, 

is its use in instruction during the first few years of playing. 

Central here are the articulation of the opening theme and its 

various repetitions juxtaposed with lyrical passages calling for 

legato playing. 

Christine Baur’s new scholarly-critical edition is based on a 

thorough examination of all the sources, including Saint-Saëns’ 

later orchestral version. The edition incorporates many articulation 

alternatives for the soloist, which are marked “ossia” above the 

solo cello line in this version for cello and piano. 

This important new publication offers cellists not only an Urtext 

part, but also one with bowing and fingering; both parts have a 

fold-out page so that no page turns are necessary. 

Camille Saint-Saëns 

Allegro appassionato in B minor op. 43 

for Violoncello and Piano 


Edited by Christine Baur 

BA 9047 approx. E 7.50 


l The first Urtext edition of this important work 

l Fold-out page in the solo cello part, so no page turns 

are needed 

l Includes articulation alternatives as “ossias“ 


Title


JAnáCeK 


› 


smyčcový kvartet č. 2 

»Listy důvěrné« 

string Quartet no. 2 

»intimate Letters« 

streichquartett nr. 2 

»intime Briefe« 

hlasy / Parts / stimmen 

Leoš Janáèek 

Smyècový kvartet è. 2 »Listy dùvìrné« 

String Quartet No. 2 “Intimate Letters“ 

n Janáèek’s nd String Quartet, Intimate Letters, is regarded 

as a highlight of the modern string quartet literature. It was 

written during the composer’s last year of life, between 9 

January and 9 February 9 8, inspired by the ageing Janáèek’s 

exceptional love for Kamila Stösslová. The Moravian Quartet 

devoted themselves to this impressive work; Janáèek attended 

a total of three of their rehearsals in May and June 9 8. This 

had several consequences, including his abandoning his original 

idea of using a viola d’amore. 

After Janáèek’s unexpected death ( August 9 8) the 

uncertain genesis of the work became the greatest problem of 

the Intimate Letters: the surviving copies were not definitively 

authorised. The editors of this new edition have reverted to 

Janáèek’s autograph sketches as the main, most reliable source 

and using these as a basis, have reconstructed the work as it 

stood at the point of Janáèek’s death. The musical text, taken 

from the Critical Complete Edition of the Works of Leoš Janáèek 

(Vol. E/4), therefore contains clear differences in comparison 

with older editions. 


Smyècový kvartet è. 2 »Listy dùvìrné« 

String Quartet No. 2 “Intimate Letters“ 


Edited by Leoš Faltus and Miloš Štìdroò 

Parts in slipcover* 

BA 9533 approx. E 9.95 


Title 

JanacekII 2.2.2009 11:09 Stránka 1 



smyčcový kvartet č. 2 

string Quartet no. 2 / streichquartett nr. 2 

tP 533 © 2010 by editio Bärenreiter Praha 

l Urtext based on the Critical Complete Edition of the 

Works of Leoš Janáèek 

l With a foreword by Miloš Štìdroò (Cz/Eng/Ger) 

l Autograph sketches used as the primary source 

Study score* 

TP 533 approx. E 5.50 


i 

Leoš Janáček 

(1854–1928) 

BA 9533 TP 533 

9

0 


DeBUssy 


Quatuor à cordes 

Parties / Parts / stimmen 


Claude Debussy 


n Debussy’s only string quartet composed in 893 was his first 

masterwork. Together with two further works from this creative 

period, Prélude à l’après-midi d’un faune and Pelléas et Mélisande, 

the quartet established the composer’s position as the rising 

star of the French music scene. 

Discrepancies existed from the initial publication in 894 

between the score, corrected and seen into print by the 

composer and the parts, not corrected by him. At a later point, 

Debussy made a large number of corrections and alterations in 

a copy of the first edition; these alterations have been 

incorporated in this Bärenreiter Urtext edition. 

This scholarly-critical edition utilises all sources including the 

composer’s letters, which offer a valuable insight into the 

genesis of the composition. 




Edited by Douglas Woodfull-Harris 


BA 94 4 approx. E 8.95 

Study score* 

TP 4 4 approx. E 4.95 


Title 

Violon I 

Violon II 

Alto 

Violoncelle 

6 

TP 414 

Quatuor 

pour 

2 Violons, Alto et Violoncelle 

Animé et très décidé = 63 

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l Indispensable edition for all string quartets 

l High quality Bärenreiter Urtext edition 

l With a foreword (Ger/Fr/Eng) and facsimiles 

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FrAnCK 



Parties / Parts / stimmen 


César Franck 


n César Franck's string quartet was completed and premiered 

in 890 shortly before the composer's death; he did not live 

to see the work published. Now Bärenreiter, together with the 

“Association Internationale César Franck”, presents the string 

quartet in a scholarly-critical edition for the first time. This 

publication draws on the first edition, the engraver’s copy 

used for the first edition and the sketches with their many 

crossed out attempts which contain an earlier version of the 

first movement as well as a copy of the autograph. Franck’s 

letters and a set of hand-written parts which he produced for 

Eugene Ysaÿe’s string quartet have also been taken into account. 

In her foreword, the editor Christine Strucken-Paland portrays 

the significance of the string quartet for Parisian musical life at 

the end of the 9 th century and places it in the context of the 

composer’s other late chamber music works. She also describes 

the work’s development, its publication and reception and 

discusses aspects of performance practice. The facsimiles 

show Franck’s struggles with the opening movement and the 

critical commentary lists variant readings found in the sources. 

César Franck 



Edited by Christine Strucken-Paland 



Study score* 

TP 4 approx. E 0.95 


Title 

l First Urtext edition of Franck’s masterwork 

l Informative foreword (Ger/Fr/Eng) 

l Facsimiles and a critical commentary (Eng) 


BA 94 TP 4

Woodwinds 

GLAzUnoV 


Konzert 

für Altsaxophon und streichorchester 

Concerto 

for Alto saxophone and string orchestra 

Partitur / score 


Alexander Glazunov 

Concerto for Alto Saxophone and String Orchestra 

n The Concerto for Alto Saxophone and Orchestra is Alexander 

Glazunov’s last work; since its first performance in 934 it has 

become part of the standard saxophone repertoire. The sole 

surviving autograph manuscript is the hand-written dedication 

score given by Glazunov to Sigurd Raschèr (Raschèr was the 

founder and leader of the well-known and innovative Raschèr 

Saxophone Quartet). This score contains the original version 

of the work without the alterations which were made in the 

proofs to the orchestral score as well as the full version of the 

composer’s cadenza which was later shortened. The autograph 

manuscript also contains some performance markings by Raschèr. 

The correspondence between Raschèr and Glazunov documents 

the composer’s thoughts on the work and his recommendations 

about the size of the accompanying string orchestra. Evidence 

from this correspondence has been integrated into this edition. 

This first scholarly-critical edition of a work by Glazunov contains 

an informative introduction with commentaries about the 

history of its composition, facsimiles and a critical commentary. 

The solo part includes both the complete and the shortened 

version of the cadenza as well as a cadenza by Raschèr which 

the composer authorised. 


Concerto for Alto Saxophone and String Orchestra 


Edited by Regina Back und Douglas Woodfull-Harrris 

BA 873 

Score* approx. E 9.95 

Strings each approx. E 4.00 

Alto 

Saxophone 

Violini I 

Violini II 

Viole 

Violoncelli 

Contrabassi 

5 

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BA 8732 

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Allegro moderato q = 92 

l Includes the original and new solo cadenzas 

l With helpful performance tips by Carina Raschèr, 

the daughter of Sigurd Raschèr 

l With an Urtext solo saxophone part and a second 

part prepared by Carina Raschèr 

l Informative foreword (Ger/Eng) 

Piano reduction with two solo parts 

by Martin Schelhaas 

BA 873 a * approx. E 9.95 


Concerto 

Op. 109 

BA 873 a 


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Title

Woodwinds 

JAnáCeK 


› 


Mládí 

Dechový sextet 

youth 

Wind sextet 

Die Jugend 

Bläsersextett 

hlasy / Parts / stimmen 


Mládí. Dechový sextet 

Youth. Wind sextet 

n Leoš Janáèek, almost seventy years old, characterised the 

wind sextet he had just finished as “a kind of memory of youth” 

in a letter to Kamila Stösslová. The suite Youth was written in 

the summer of 9 4, prompted by the composer’s need to take 

stock on the occasion of his 70 th birthday. Janáèek also heard 

the Parisian ensemble Société moderne des instruments à vent 

several times in Salzburg and Brno. He expanded the classic 

quintet scoring by the addition of a bass clarinet. 

Janáèek referred to an earlier part of his life in this work not 

only by quoting a theme from March of the Blue Boys, but 

particularly through his general freshness of expression, astute 

humour and use of form which adhered to the classical style. 

The piece was enthusiastically received by both critics and the 

public and appeared in print as early as 9 5 issued by the 

Prague publisher Hudební matice. 


Mládí. Dechový sextet 

Youth. Wind sextet 


Edited by Jan Doležal and Leoš Faltus 


BA 95 8 approx. E .95 


Title 

Mládí / youth / Die Jugend 

l Wind sextet in the classical style 

l Urtext based on the Critical Complete Edition of the 

Works of Leoš Janáèek 

l New foreword by Jiøí Zahrádka (Cz/Eng/Ger) 

Study score* 

TP 5 8 approx. E 8.95 

To appear in June 0 0 

i 

Leoš Janáček 

(1854–1928) 

tP 528 © 2010 by editio Bärenreiter Praha 

BA 95 8 TP 5 8 

3

4 

Gabriel fauré 

Œuvres ComplèTes 

(oCGf) 

General Editor 

Jean-michel nectoux 

Editorial Board 

Jean-pierre bartoli, Carlo Caballero, 

Tom Gordon, Denis herlin, peter Jost, 

richard langham smith, hugh macdonald, 

roger nichols, robert orledge, 

James William sobaskie, robin C. Tait 

Editorial Staff 

nicolas southon 

In collaboration with 

musica Gallica, fondation singer polignac, 

palazzetto bru Zane, bibliothèque national 

de france 

The subsCripTion 

The volumes can be purchased individually 

or complete at specially reduced subscription 

prices. 

each volume includes a preface (fr/eng/Ger) 

and a critical commentary (fr or eng), 

format 25.5 x 32.5 cm, cloth-bound. 

on the basis of this Critical edition, 

bärenreiter will be publishing performance 

material. 

The CompleTe Works 

subsCripTion offer 

bärenreiter proudly presents the start of the 

publication of the complete compositional œuvre 

of Gabriel Fauré, a key figure of the end of the 

19 th and the beginning of the 20 th century, in 

high-quality scholarly critical editions. based on 

longstanding preparatory work by Jean-michael 

nectoux as well as on research by internationally 

acclaimed musicologists, the Complete edition 

of the Works of Gabriel fauré (1845-1924) will be 

published by bärenreiter from 2010 onwards. 

G a b r i e l f a u r é

The PubliCaTion SCheDule 

SÉRie i · MuSiQue VoCale ReliGieuSe 

i/1 Messe de Requiem op. 48 (version de 1893) 

i/2 Messe de Requiem op. 48 (version de 1900) 

ed. Michael Stegemann / Christina Stahl 

ba 9461 · To be published 2011 

i/3 Œuvres avec orchestre ou ensemble instrumental 

i/4 Œuvres avec orgue ou deux instruments 

SÉRie ii · MuSiQue VoCale PRoFane 

ii/1 Œuvres pour chœur mixte et orchestre 

ii/2 Chœurs avec piano 

ii/3 Mélodies avec orchestre ou ensemble instrumental 

ii/4 Mélodies et duos avec piano i 

ii/5 Mélodies et duos avec piano ii 

ii/6 Mélodies et duos avec piano iii 

SÉRie iii · MuSiQue DRaMaTiQue 

iii/1 Prométhée op. 82 (1e version 1900) 

iii/2 Prométhée op. 82 (2e version 1916) 

iii/3 Pénélope (2 volumes) 

iii/4 Musiques de scène 

SÉRie iV · ŒuVReS SYMPhoniQueS eT ConCeRTanTeS 

iV/1 Œuvres symphoniques i 

iV/2 Œuvres symphoniques ii 

iV/3 Œuvres concertantes 

Ballade pour piano et orchestre, op. 19, 

Fantaisie pour piano et orchestre, op. 111, 

Élégie pour violoncelle et orchestre, op. 24, 

Berceuse pour violon et orchestre, op. 16 

ed. Peter Jost 

ba 9465 · To be published 2011 

SÉRie V · MuSiQue De ChaMbRe 

V/1 Quintettes avec piano 

V/2 Quatuors avec piano 

1er Quatuor pour piano, violon, alto et violoncelle, op. 15 

2e Quatuor pour piano, violon, alto et violoncelle, op. 45 

ed. Denis herlin 

ba 9462 · To be published 2010 

V/3 Trio pour piano, violon et violoncelle, op. 120, 

Quatuor à cordes, op. 121 

ed. James W. Sobaskie 

ba 9464 · To be published 2010 

V/4 Œuvres pour violon et piano 

V/5 Œuvres pour violoncelle et piano, flûte et piano, flûte, 

violon et piano, harpe solo, 2 contrebasses 

SÉRie Vi · ŒuVReS PouR Piano 

Vi/1 Œuvres pour piano à 2 mains i 

Vi/2 Œuvres pour piano à 2 mains ii 

Vi/3 Œuvres pour piano à 2 mains iii 

Vi/4 Œuvres pour piano à 4 mains et 2 pianos 

SÉRie Vii · ÉRuDiTion 

ed. Jean-Michel nectoux 

Vii/1 Catalogue des œuvres 

Vii/2 iconographie 

Promotional material: 

Please ask for the brochure 

”Gabriel Fauré · The Complete Works“ 

SPA 279 · in preparation 

5

ComboCom 

Balkan 

6 

Series “ComboCom“ 

n The Balkans offers a wealth of musical styles and with it 

ideal material for a collection of pieces for variable scorings. In 

this publication instrumentals and songs alternate, usually with 

a melody part, an accompanying part, chords and bass. Hints 

on how percussion instruments can be used have also been 

included. 

Dynamic dance pieces are followed by lyrical melodies, capricious 

songs and unusual rhythms; music from the Klezmer and Roma 

traditions is found throughout. The collection offers small 

groups who are looking for something special an unusual and 

varied programme. 

l Music from different Balkan cultures 

l 12 arrangements for variable ensemble 

l The edition includes parts for melodies I and II in C, 

B-flat and E-flat, a chord as well as a bass part 

ComboCom 

Balkan 

Edited by Paul Hoorn 

BA 6700 approx. E .95 


20 

Mel. II 

Harm. 

Bass 

2b 2. 

Intro 

� 

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� � �� 5 

Mel. I 

(Vocal) 

Mel. II 

Harm. 

Bass 

� 

� �� 

� Strophe 

� 

� � 


Blues · BA 7668 E 9.95 

Django · BA 7665 E 9.95 

Djelem · BA 7664 E 9.95 

El Cóndor pasa · BA 7663 E 8.95 

Irish · BA 7670 E 9.95 

Kaffeehausmusik · BA 766 E 9.95 

Klezmer · BA 7660 E 9.95 

Salonmusik · BA 7666 E 9.95 

Samba-Salsa-Son · BA 766 E 9.95 

Tango · BA 7669 E 9.95 

Zydeco – Cajun · BA 7667 E 9.95 


Title 

A Kanë ujë ato burime 

trad. albanisch 

V = 100 

1. 

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bu-zë 

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go - je nuk fla - sim 

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Timoj 

buz(ë) ka - ra - fil - ja i - 

Timoj 

vajza e Të - pë - lë - 

Eh, si duroj - me, moj, si s’pel-ca 

�� 

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BA 6700 

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Organ 


Organ Works 

(In a set of 11 volumes) 

n With the completion of the New Bach Edition where all 

sources have now been exhaustively researched, Bärenreiter 

presents the definitive edition of Bach‘s organ works in a set 

of volumes. 

BA 5 79 includes the volumes already published in separate 

Bärenreiter editions BA 5 7 -5 78, the famous Neumeister 

Chorales BA 5 8 and now, in addition, the two recently 

published editions BA 5 43 (Freely Composed Organ Works 

and Chorale Partitas from Miscellaneous Sources) and 

BA 5 5 (Organ Chorales from Miscellaneous Sources). 

A superb foundation for everyone interested in the 

authentic performance of Bach‘s organ music. 

Contents 

Volume 

Orgelbüchlein / »Schübler-Chorales« / Chorale Partitas 

Volume 

The Organ Chorale Preludes from the Leipzig autograph 

Volume 3 

Miscellaneous Chorales 


Organ Works 


BA 5 79 E 49.00 

Already published 

Volume 4 

Clavier Übung, Part three 

BA 5 43 · Band 

Volume 5 

Preludes, Toccatas, Fantasias and Fugues I 

Volume 6 

Preludes, Toccatas, Fantasias and Fugues II / Early Versions 

and Variants to I (Volume 5) and II (Volume 6) 

Volume 7 

Six Sonatas and Various Individual Pieces 

Volume 8 

Arrangements of Works by other Composers 

Volume 9 

Organ Chorales from the Neumeister Collection 

(First edition) 

Volume 0 

Organ Chorales from Miscellaneous Sources 

Volume 

Freely Composed Organ Works and Chorale Partitas 

from Miscellaneous Sources 

All volumes continue to be available separately. 

However there is a price advantage of E 28.00 

when buying the set. 

7

8 

Organ 

FresCoBALDi 


orgel- und Clavierwerke 

organ and Keyboard Works 

Girolamo Frescobaldi 

Organ and Keyboard Works I.2 

Toccate e Partite d'intavolatura di cimbalo; 

libro primo (Rom, Borboni, 1615, 2 1616) 

n Girolamo Frescobaldi’s music strongly influenced composers 

such as Froberger, Buxtehude, Johann Sebastian Bach and 

Muffat. Bärenreiter is now complementing the long-standing 

Pidoux edition with an Urtext edition in six volumes which sets 

a new standard. It offers both professional musicians and 

enthusiasts an unrivalled musical text which will satisfy practical 

requirements whilst at the same time providing comprehensive 

information on all currently known sources and the history 

of the works. This Urtext edition of the organ and keyboard 

works has been edited by the renowned specialists Christopher 

Stembridge and Kenneth Gilbert. 

Vol. I. includes the toccatas and partita movements from the 

first edition published in Rome by Nicolò Borboni. Each volume 

in the new Frescobaldi edition contains a critical commentary 

as well as an introduction describing the genesis of the works, 

situation regarding sources and performance practice. 



Toccate e Partite d’intavolatura di cimbalo; 

libro primo (Rom, Borboni, 1615, 2 1616) 


Edited by Christopher Stembridge 

with Kenneth Gilbert 


i.2 



Title 

l Urtext edition setting new standards in six volumes 

l Reflecting the latest state of research 

l Detailed foreword (Eng/Ger), critical commentary 

(Eng/Ger), index of sources 




Recercari, et Canzoni franzese 

(Rom, Zannetti, 1615, 21618) BA 84 E 46.95 

To appear in February 0 0

Organ 

sWeeLinCK 


sämtliche orgel- und Clavierwerke 

Polyphone Werke (teil 2) 

Complete organ and Keyboard Works 

Polyphonic Works (Part 2) 

ii.2 


Jan Pieterszoon Sweelinck 

Complete Organ and Keyboard Works 

Volume II.2: Polyphonic Works, Part 2 

Fantasias, Echo Fantasias, Ricercari, Capriccio 

n The central importance of Jan Pieterszoon Sweelinck 

( 56 – 6 ) for Baroque keyboard music can hardly be 

overestimated. Siegbert Rampe’s scholarly performing edition is 

the first edition of Sweelinck’s complete keyboard works which 

differentiates between works of certain authenticity, works of 

uncertain authenticity and doubtful works. The eight volume 

edition, complete with commentaries in German and English, 

reflects the latest state of scholarly research. 

Volume II. completes the publication of the Urtext edition. 

Volumes II. and include all fantasias and echo fantasias 

which have survived under Sweelinck’s name or are attributed 

to him, four ricercari and a capriccio. The appendix contains four 

further fantasias. In addition, several compositions are published 

for the first time in different, presumably original versions. 


Complete Organ and Keyboard Works, *New Issue 

Volume II.2: Polyphonic Works, Part 2 Title 

Fantasias, Echo Fantasias, Ricercari, Capriccio 


Edited by Siegbert Rampe 

BA 8476* approx. E 34.95 


l Definitive complete Urtext edition 

l Each volume contains facsimiles and a critical 

commentary (Ger/Eng) with a list of sources 

l Detailed forewords (Ger/Eng) on the structure of 

the works and editorial technique 

l With tips on instrumentation and performance 

practice 

l Notes on ornamentation 



Complete Organ and Keyboard Works 

Volume I. : Toccatas (Part ) 

BA 8473 E 36.50 

Volume I. : Toccatas (Part ) 

BA 8474 E 36.50 

Volume II. : Polyphonic Works (Part ) 

BA 8475 E 38.95 

Volume III. : Chorale Settings (Part ) 

BA 8485 E 34.95 

Volume III. : Chorale Settings (Part ) 

BA 8486 E 34.95 

Volume IV. : Variations on Song and Dance Tunes 

BA 8487 E 34.95 

Volume IV. : Variations on Song and Dance Tunes 

BA 8494 E 9.95 

Special set price for all 8 volumes 

BA 8500 approx. E 30.00 

Save E 50.00 

BA 8476 

BA 8500 

9

30 

Organ 

Vierne 


L‘Œuvre d‘orgue 

Complete organ Works 

sämtliche orgelwerke 

ix 


Louis Vierne 

Complete Organ Works, Volume IX 

Masses and Individual, Liturgical Works 

n Louis Vierne ( 870- 937) studied privately with César Franck 

and was appointed titulaire organist at Notre-Dame (Paris) in 

900. Numerous concert tours throughout Europe and the USA 

made him well-known outside France. His pupils included 

Marcel Dupré whose pupil Thierry Escaich has worked on 

this edition. 

Vierne’s organ works are masterpieces of organ music and 

firmly established in the virtuoso organ repertoire. In particular, 

Vierne took the form of the organ symphony to new stylistic 

heights and had a decisive influence on the development of the 

art of organ playing worldwide. 

l Evaluation of all available autograph manuscripts, 

first printed editions and previously unpublished 

letters 

l Editorial clarification superseding the long-standing 

international correction lists 

l Critical commentary (Fr/Eng/Ger) and foreword 

(Fr/Eng/Ger) with detailed performance practice tips 

l Numerous illustrations and facsimile pages 

Louis Vierne 

Complete Organ Works, Volume IX 

Masses and Individual, Liturgical Works 


Edited by Helga Schauerte-Maubouet 

with Thierry Escaich, Jean-Pierre Mazeirat 

and Rollin Smith 


Title 


Louis Vierne 

Organ Works 

Symphony No. 3 op. 8 

Volume III 

BA 9 3 € .95 

Pièces en style libre pour orgue ou harmonium 

Volume VIII.1: (Livre I, – ) op. 3 

BA 9 35 € .95 

Volume VIII.2: (Livre II, 3– 4) op. 3 

BA 9 36 € 4.95 

Pièces de Fantaisie en quatre suites 

Volume VII.1: (Livre I, –6) op. 5 

BA 9 7 € 9.95 

Volume VII.2: (Livre II, 7– ) op. 53 

BA 9 8 € .95 

Volume VII.3: (Livre III, 3– 8) op. 54 

BA 9 9 € .95 

Volume VII.4: (Livre IV, 9– 4), op. 55 

BA 9 30 € .95 

Louis Vierne 

Piano Works 

Volume II: Douze Préludes op. 36 / Trois Nocturnes op. 35 

BA 96 € 8.95 

Volume III: The Last Works ( 9 6– 9 ) 

BA 96 3 € 8.95 

No distribution rights for France, Italy and Spain. 

BA 9 37 approx. E 9.95 

To appear in May 0 0

Solo Voice and Organ 

Marian Hymns from the 18 th to the 20 th Centuries 

Settings for Solo Voice and Organ 

Volume II: Alma Redemptoris mater · Ave Regina 

coelorum · Regina coeli · Ave maris stella 

n Great significance is attached to the Marian antiphons 

along with the cult of the veneration of the Virgin Mary. This 

two volume edition contains Latin settings of Marian antiphons 

from the 8 th to the 0 th centuries. The first volume, already 

published, contains settings of the Marian antiphon Salve Regina, 

whilst the second volume contains the three other Marian 

antiphons and the Marian hymn Ave maris stella. 

These two volumes contain an anthology of works by Johann 

Michael Haydn, Bruckner, Gounod, Dvoøák, Elgar, Grieg, Liszt, 

Mendelssohn a.o. which have been arranged for medium voice 

and organ without compromising any of the originality of the 

pieces. 

l Practical performing edition for use in the mass 

and at church concerts 

l Well-known settings of moderate technical difficulty 

Marian Hymns from the 18 th to the 20 th Centuries 


Volume II: Alma Redemptoris mater · Ave Regina coelorum · 

Regina coeli · Ave maris stella 

Edited and arranged by Peter Wagner 

BA 9 68 approx. E 6.95 



Marian Hymns 


Volume I: Salve Regina 


BA 9 57 E 6.95 

Ave Maria, gratia plena 

Ave Maria settings from the 9 th and early 0 th centuries 

for medium Solo Voice and Organ 


BA 8 50 E 5.95 


Title 

3

3 

Solo Voice 

Jean-Philippe Rameau 

Musique vocale profane, volume 1 

Secular Vocal Music, volume 1 

Cantates pour voix de dessus, Canons 

Cantatas for High Voice, Canons 

n At the time when Jean-Philippe Rameau was interested in 

the form of the cantata, the French form of the genre tended 

to concentrate on mythological, pastoral or allegorical themes. 

As a highly popular genre, the cantatas were performed by 

amateurs and professional musicians in concerts, private 

performances and on special occasions. 

However, in his cantatas, Rameau tried out his dramatic gifts 

by creating “mini operas”. Until now, only two of the seven 

surviving cantatas have been available – Le Berger fidelle and 

Aquilon et Orithie; this edition is therefore sure to guarantee 

great discoveries. 



Cantatas for High Voice, Canons 

Edited by Jean-Paul C. Montagnier (Cantatas) 

and Sylvie Bouissou (Airs) 

BA 8946 E 49.95 

Folder with score and parts 

(Soprano; Flute; Violin I; Violin II; Basso continuo) 

Even though the genre of the canon played a minor role in 

Rameau’s output, he nevertheless made some important 

contributions. The daring modulations in all their tonalities 

demonstrate how the contrapuntal dimension fascinated the 

composer. The four individual surviving airs were probably 

written as occasional pieces. 

BA 8946 (Vol. ) and BA 8948 (Vol. ) are based on the volume 

published as part of the Opera Omnia Rameau, série III, volume I, 

Cantates, Canons, Airs (BA 8855) and contain the following 

work numbers: RCT - 8 (Cantatas), RCT 7- 0 bis (Canons) 

and RCT - 4 (Airs). They are published in a folder each 

containing score and parts. 

Volume 1 Contents 

l Cantatas 

Le Berger fidelle 

Cantate pour le jour de la Saint-Louis 

L’Impatience 

Orphée 

l Canons 

Ah! loin de rire 

Avec du vin, endormons-nous 

L’Épouse entre deux draps 

Je suis un fou 

Mes chers amis 

Réveillez-vous dormeur sans fin 

Si tu ne prends garde à toi 

Already published

Solo Voice 



Secular Vocal Music, volume 2 

Cantates pour voix de basse et en duo, Airs 

Cantatas for Low Voice and for two Voices, Airs 

Volume 2 Contents 

l Cantatas 

Les Amants trahis 

Aquilon et Orithie 

Thétis 

l Airs 

L’Amante préoccupée 

Lucas, pour se gausser (duo bachique) 

Lucas, pour se gausser (trio bachique) 

Non, non le dieu qui sait aimer 

Un Bourbon ouvre sa carrière 



Cantatas for Low Voice and for two Voices, Airs 

Edited by Jean-Paul C. Montagnier (Cantatas) 

and Sylvie Bouissou (Airs) 

BA 8948 E 46.95 

Folder with score and parts (Soprano; Counter tenor; 

Bass; Violin I; Violin II; Basso continuo) 

In addition to a continuo accompaniment, five of the cantatas 

require two “obbligato dessus” (high obbligato instrumental 

parts). The choice of instruments (violin and/or flute and/or 

oboe) is free and furthermore, the scoring can be several 

instruments to a part. L’Impatience, Les Amants trahis and 

Orphée are intended to have a bass viol whose function 

changes between a concertato and a continuo instrument. 

In a chamber music context, the (figured) continuo part is 

simply played by bass stringed instruments. 

Already published 

33

34 

Stefan Kalmer (Arr.) 

Wild World (Cat Stevens) 

Cat Stevens 

Wild World 

Popular Choral Music 

n Since they were written in the late 960s, Cat Stevens’ 

songs have remained firm favourites with the young and 

young-at-heart. One of his best-known songs, as so often, 

describes a short love story set in the big wide world. 

A cantabile melody and intense rhythmic passages unfold 

in a setting for four voices to create a special treat. 

The singing text is in English. 

Cat Stevens 

Wild World 

Arranged and edited by 

Stefan Kalmer for SATB choir (Eng) 

BE 7 7 approx. E 3.50 


Do ge da ja 

Alex Haas / Willie Jakob 


Title 

Intro V = 74 

Am 

S 

A 

T 

B 

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Do ge da ja 

n Do ge da ja (Bavarian for ‘Da geht er ja’ [There he goes]) 

has a charming, succinct text. In the four-part choral setting 

with solo passages throughout (soprano or tenor, but they can 

also alternate) and body percussion, the composer has created 

a piece which keeps both choir and audience in good spirits. 

The short singing text has also been transferred into English. 


Do ge da ja 

Edited by Stefan Kalmer 

for SATB choir (Ger/Eng) 

BE 7 9 approx. E 3.50 


D7 

Wild World 

*) la la la la la la la la la lah 

la 

Verse 1 

la la la la lah la la la la, 

5 Am 

D7 

GŠ7 

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GŠ7 

Words & Music by Cat Stevens 

CŠ7 

� 

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� 

la la la la la la la la la lah 

*) la la la la la la la la la lah la la la la la la la la la lah 

*) la la lah la la lah la la lah la la lah 

*) la la lah la la lah la la lah la la lah 

� 

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� 

Dm7 

la la la la la 

la la lah la la la 

E 

la, la la la lah la 

la la la la la la la lah la la la la, la la la lah la 

1. Now that I’ve lost 

e - v’ry- 

thing to you, 

CŠ7 

you say you wan - na start some - thing 

1. Now that I’ve lost e - v’ry- 

thing to you, you say you wan - na start some - thing 

� � 

8 

1. Now 

� � � 

that I’ve 

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lost 

� � � 

e - v’ry- 

thing 

� 

to 

� 

you, 

� 

you 

� � � � � � � 

say you wan - na start some - thing 

1. Now 

� � � � �� 

� � � � � � � � � � � � �� 

� � � � �� 

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that I’ve lost e - v’ry- 

thing to you, you say you wan - na start some - thing 

Intro - Verse 1 - Chorus - Verse 2 - Chorus - Verse 3 - Chorus - Chorus 

*) »la la la« - sing »lal lal lal« / »lah« sing »laa« 

© Copyright 1970 Salafa Limited. This Arrangement © Copyright 2000 Salafa Limited. 

Used by permission of Music Sales Limited. All Rights Reserved. International Copyright Secured. 

Cover: www.takeoff-ks.de, christowzik + scheuch (unter Verwendung eines Fotos von Dolf Rabus). 

� � � � � � � � 

BE 727 


Title

Mozart’s Great Operas 

The Packard Humanities Institute (PHI), Los Altos, Ca. 

and the International Mozarteum Foundation, Salzburg 

present the autograph scores of the seven great Mozart operas 

Mozart’s seven great operas, his brilliant contribution 

to music theatre and world culture, are unequalled in 

their depth of human characterisation and musical 

expression. 

Through happy coincidence, all seven opera scores 

have survived almost complete in Mozart’s manuscript. 

Idomeneo K. 366 with ballet 

K. 367** 

ISBN 978-3-7618-1880-0 

Die Entführung aus dem Serail 

K. 384* 

ISBN 978-3-7618-1881-7 

Le nozze di Figaro K. 492** 

ISBN 978-3-7618-1882-4 

Don Giovanni K. 527** 

ISBN 978-3-7618-1883-1 

Così fan tutte K. 588** 

ISBN 978-3-7618-1884-8 

With introductions (English/German). 

Format: 34 x 26 cm. Cloth-bound and half leather with gold embossed lettering 

Each opera � 248.00 

* 1 facsimile + text volume 

** 2 facsimile volumes + text volume 

No distribution rights for the USA and Canada. 

Please ask for the brochure Mozart‘s Great Operas, in English (SPA 180). 

The Facsimiles 

� Consolidation of Mozart manuscripts held in 

different places 

� Highest level of precision in reproduction 

and authenticity of colour through use of the 

latest technology 

Die Zauberflöte 

K. 620** 

ISBN 978-3-7618-1885-5 

La clemenza di Tito 

K. 621* 

ISBN 978-3-7618-1886-2 

Now complete! 

35

36 

Sales and Marketing International 

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Bärenreiter The Programme New Publications Sheet Music 1/2010

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